Monthly Archives: March 2020

BUD (Part One, November 27, 1988)

Mr. Freeman, always beautifully attired:

Bud Freeman, who made the long journey from being an Austin High School boy, earnest and enthusiastic, to an elder of the tribe, always remaining himself. But he has not received the same attention — with the exception of Loren Schoenberg and Dick Sudhalter — that his singular talent deserved, almost as if there were just too many tenor saxophone stylists for the writers to keep track of, so they focused on Lester and Hawkins, Ben and Byas and few others.  Bud’s music was both intellectual and impassioned: you could trace his scalar patterns on graph paper, but he was also busily swinging and surprising the listener.  He also kept some of that boyishness in his buoyant playing, those lines that bobbed and weaved, never predictably.  I offer here a late example — Bud was eighty-two in this performance, but this is not an old man’s tentative music.  And to an attentive listener, it is quite sophisticated, beautifully, whimsically alive.

Here he is, recorded live at the Manassas Jazz Festival (thanks to Joe Shepherd for this keepsake) with Johnson McRee as M.C., Johnny Mince, clarinet; Al Stevens, piano; Marty Grosz, guitar; Johnny Williams, string bass; Johnny Blowers, drums  After McRee’s introduction and some before-set milling around, there’s LADY BE GOOD / a story about shooting craps and playing cards / I FOUND A NEW BABY / I GOT RHYTHM / Marty tells a now-offensive joke and Bud recites a few lines of Shakespeare / CRAZY RHYTHM //

I’ve noted that Bud was 82, Johnny, 76, Blowers, 87 (!), Williams, 80, Marty (the Youngblood then, ninety now) 58.  I don’t know Al Stevens’ birthdate, but he looks less venerable.  Durable fellows, all.

I will offer another half-hour set of Bud and friends shortly.  But study this one, without preconceptions, please.

May your happiness increase!

“YOU COULDN’T HAVE INVENTED HIM”: DAN MORGENSTERN RECALLS RAHSAAN ROLAND KIRK (and CHARLIE SHAVERS and NAT COLE): August 30, 2019

Rahsaan’s sweetly respectful SOMEONE TO WATCH OVER ME:

His energized, theatrical SERENADE TO A CUCKOO from 1972:

and on the same theme, Rahsaan at the zoo:

And here’s Dan . . . . recalling Rahsaan Roland Kirk in a conversation at his NYC apartment, beginning with their first connection through the music of John Kirby, to Harry Carney’s enthusiastic recommendation . . . to Rahsaan’s intelligence, passion, pride, and curiosity. Whatever he did, Dan says, “it always made musical sense.” Triumphs at Newport in New York and on the street in New Orleans, a “beautifully warm person” and a powerful hugger.  I’ve learned to follow Dan wherever he leads, so this interview ends with a sweet detour into mid-Forties jazz: Charlie Shavers, Herbie Haymer, Nat Cole, and Buddy Rich. . . . and his one memory of seeing Nat Cole live.

Here, to make JAZZ LIVES your one-stop blogging superstore, is the 1945 LAGUNA LEAP:

May your happiness increase!

BEAUTY NEEDS NO WORDS: JOE WILDER AND HOWARD ALDEN (Jazz at Chautauqua, September 19, 2009)

O rare and floating sounds!

Even at 10:30 in the morning, the great artists create lovely subtle art — as did Howard Alden, guitar, and Joe Wilder, trumpet and flugelhorn.  This telepathic pair made beauty tangible at the Jazz at Chautauqua weekend in mid-September 2009, and I am delighted to be able to present two duets.

People who knew Joe well will also notice his uncharacteristically informal attire — one of the few times he was ever seen without a suit and tie — and I delight, on SAMBA, that he is using his green plastic cup (‘from the five and ten,” he told me) as a mute.

My videos are characteristically imperfect, even more so because I was not supposed to be shooting them: people pass by and pause, and I think my camera rises and falls with my breathing.  But I’d rather have these moments, preserved.

SECRET LOVE, made famous by Doris Day in 1953:

Luiz Bonfa’s SAMBA DE ORFEU, from the film BLACK ORPHEUS:

Howard has been incredibly gracious about allowing me to video-record him and then to post selected performances: if you search JAZZ LIVES posts, he is part of more than one hundred.  Joe appeared most recently in a 2009 session with Rossano Sportiello, Harry Allen, and Jon Burr, and the first part is here.  Bless them both.

May your happiness increase!

“BABY, YOU’RE THE BEST”: EDDY DAVIS, JON-ERIK KELLSO, EVAN ARNTZEN, CONAL FOWKES (Cafe Bohemia, December 26, 2019)

Cafe Bohemia, 15 Barrow Street, Greenwich Village, New York City

Eddy Davis — banjo, vocals, compositions — is a glorious eccentric I’ve been admiring for fifteen years in New York.  And he has a long history in Chicago, playing with the greats of previous generations, including Albert Wynn, Bob Shoffner, and Franz Jackson, among others.  Here are four selections from a beautiful evening with the Cafe Bohemia Jazz Quartet: Jon-Erik Kellso, trumpet; Evan Arntzen, reeds; Conal Fowkes, string bass / vocal — at the end of last year.

Eddy’s had some health difficulties recently, so I wanted to use the blog as a spiritual telephone wire to send him the best wishes for a speedy and complete recovery, so he can come back to startle and delight us soon.  And just generally, may we all be safe from harm.  Thanks to Eddy’s friends Conal Fowkes and Debbie Kennedy.

TWO DEUCES / “BABY, YOU’RE THE BEST”:

STRUTTIN’ WITH SOME BARBECUE, with Miss Lil’s major seventh:

CANAL STREET BLUES, some New Orleans jazz that didn’t come from a book:

VIPER MAD (“Good tea’s my weakness!”):

May your happiness increase!

"DOGGIN’ AROUND": JON-ERIK KELLSO, SCOTT ROBINSON, JOE COHN, MURRAY WALL (Cafe Bohemia, January 30, 2020)

I doubt that the title of this original composition by Herschel Evans, recorded by the 1938 Basie band, has much to do with this puppy, named W.W. King, or any actual canine.

Many of the titles given to originals in that period were subtle in-jokes about sex, but somehow I don’t associate that with Herschel.  I had occasion to speak a few words to Buck Clayton and Buddy Tate, to spend a long subway ride with Bennie Morton, and to be spoken at by Jo Jones . . . and I regret I never asked them, although they might have been guarded or led me down the garden path because I was clearly a civilian outsider.  But we have the music.  And — unlike other bandleaders — Bill Basie did not take credit for music composed by his sidemen, which I am sure endeared him to them even more.

Moving from the linguistic or the canine to the music, listeners will hear Jon-Erik Kellso delineate the harmonic structure of the tune as “UNDECIDED with a HONEYSUCKLE bridge.” What could be simpler?

Thus . . . music to drive away gloom, created by Scott Robinson, tenor saxophone, cornet; Jon-Erik Kellso, trumpet; Joe Cohn, guitar; Murray Wall, string bass, Cafe Bohemia, 15 Barrow Street, New York City.

I look forward to the day we can meet at Cafe Bohemia and hear such music.

May your happiness increase!

“THE MYSTICAL MOIST NIGHT AIR”: PETRA van NUIS, ANDY BROWN, CHUCK WILSON, DAN BLOCK, KEITH INGHAM, ARNIE KINSELLA, VINCE GIORDANO (Jazz at Chautauqua, September 20, 2009)

With the frightening turmoil on land occupying my thought, the night sky seems a peaceful refuge, and Whitman’s WHEN I HEARD THE LEARN’D ASTRONOMER comes to mind:

When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.

Whitman approved of song — hence the title of his greatest work: I don’t think he would have turned away from the melodies I present here, delicious treasures from a vanished — but sweetly remembered — time and place.  And the poem speaks of savoring experience deeply, which is what the musicians we love both accomplish and share with us.

Here are two lovely musical vignettes from Sunday morning at Jazz at Chautauqua.  The first, Petra van Nuis and Andy Brown, dear friends, musing through the Burke-Van Heusen MOONLIGHT BECOMES YOU:

Then, Dan Block, tenor saxophone; Chuck Wilson, so deeply missed, alto saxophone; Keith Ingham, piano; Arnie Kinsella, drums; Vince Giordano, looking up at the meteor shower that gave birth to STARS FELL ON ALABAMA:

Tonight, immerse yourself in the night sky if you can.  Such vistas heal.

May your happiness increase!

FIVE BY FIVE (Part Two): JOE PLOWMAN and his PHILADELPHIANS at the 1867 SANCTUARY: JOE PLOWMAN, DANNY TOBIAS, JOE McDONOUGH, SILAS IRVINE, DAVE SANDERS (February 8, 2020)

This is the second half of a wonderful afternoon concert that took place at the 1867 Sanctuary in Ewing, New Jersey — Joe Plowman and his Philadelphians, featuring Joe on string bass; Danny Tobias on trumpet, flugelhorn, and Eb alto horn; Joe McDonough on trombone; Silas Irvine on piano; Dave Sanders on guitar.

You can enjoy the first half here — the songs performed are COTTON TAIL, WHO CARES?, JUST ONE OF THOSE THINGS, SUNNY SIDE OF THE STREET, and THE SONG IS ENDED.

And below you can hear and see performances of MY FUNNY VALENTINE, WHY DO I LOVE YOU?, THE FRUIT, WHAT’LL I DO?, and I NEVER KNEW.

When everything is once again calm, you might make a trip to the Sanctuary (101 Scotch Road in Ewing) for their multi-musical concert series: it is a lovely place.  But the vibrations in that room were particularly lovely on February 8, 2020.

Since it was less than a week before Valentine’s Day, Richard Rodgers’ MY FUNNY VALENTINE was not only appropriate but imperative: Danny offered it (with the seldom-played verse) on flugelhorn:

Jerome Kern’s WHY DO I LOVE YOU? — following the amorous thread — was another feature for the melodic Joe McDonough  — with beautiful support from Messrs. Sanders and Irvine in addition to the leader:

Joe (Plowman, that is) explored Bud Powell’s twisting THE FRUIT with Silas right alongside him at every turn:

Irving Berlin’s mournful elegy, WHAT’LL I DO? reassembled the quintet:

And a final jam on I NEVER KNEW — a song musicians have loved to play since the early Thirties — closed the program:

Beautiful, inspiring music: thanks to this quintet and Bob and Helen Kull of the     1867 Sanctuary.

May your happiness increase!